Corso di Laurea Magistrale in Lingue e Letterature Europee, Americane e Postcoloniali Tesi di Laurea Seeking Cultural Authority in Unbeaten Paths: Amelia Edwards’s Journeys Through the Dolomites and Egypt Relatore Prof.ssa Emma Sdegno Correlatore Prof. Valerio de Scarpis di Vianino Laureanda Glenda Cembran Matricola 803886 Anno Accademico 2014/2015 Contents List of Illustrations 3 Introduction 4 1. Travel writing: A Preliminary Overview 1.1 Introduction 9 1.2 Travel Writing: Some Peculiarities of This Literary Genre 11 1.3 Travel and Travel Writing in the Nineteenth Century 20 1.4 Victorian Women’s Travel Writing 33 1.5 Conclusion 43 2. Amelia B. Edwards: A Multifaceted Victorian Woman Travel Writer 2.1 Introduction 47 2.2 Seeking a Public Role: Amelia Edwards’s Early Writing Career 49 2.3 Consolidating Cultural Authority: Amelia Edwards’s Later Career as Egyptologist 56 2.4 Conclusion 61 3. Untrodden Peaks and Unfrequented Valleys: The Mountain at the Service of Amelia Edwards 3.1 Introduction 63 3.2 Structure and Subject-matter 66 3.3 The Tie Between Art and Religion 69 3.4 Fictional Devices and the Autobiographical Issue 72 3.5 Masculinity Versus Femininity: The Issue of Self-Construction 81 3.6 The Preface 85 1 3.7 The Significance of the Setting 89 3.8 The Aesthetic Pleasures of the Dolomites 99 3.9 Conclusion 102 4. A Thousand Miles up the Nile: Amelia Edwards depicts Egypt 4.1 Introduction 104 4.2 Amelia Edwards’s Perspective: The Use of the Picturesque 107 4.3 About the Book: Structure and Itinerary 111 4.4 Amelia Edwards’s Proper Purpose 114 4.5 Not a Touristy Book: Amelia Edwards’s Pursuit of Originality 119 4.6 British Travelling Companions 123 4.7 Imperialistic Implications 126 4.8 Conclusion 133 Conclusion 135 Bibliography 140 2 List of Illustrations − Amelia B. Edwards, from B. Moon, More Usefully Employed, inside front cover 47 − Unknown Mountains near Cortina, from A. B. Edwards, Untrodden Peaks and Unfrequented Valleys, p. 61 67 − Author’s Route, Untrodden Peaks and Unfrequented Valleys, inside back cover 68 − Lake of Santa Croce, from A. B. Edwards, Untrodden Peaks and Unfrequented Valleys, p. 26 72 − Sasso Bianco, from A. B. Edwards, Untrodden Peaks and Unfrequented Valleys, p. 191 75 − Carpet Bazaar, Cairo, from A. B. Edwards, A Thousand Miles up the Nile, p. 9 108 − Cairo Donkey, from A. B. Edwards, A Thousand Miles up the Nile, p. 4 110 − Sphinx and Pyramids, from A. B. Edwards, A Thousand Miles up the Nile, p. 489 113 − Native Cangias, from A. B. Edwards, A Thousand Miles up the Nile, p. 45 122 3 Introduction As soon as I had the chance to know and study the literary figure of Amelia B. Edwards during a university course, I thought that the authoress’s travel books were a very interesting and valuable topic of investigation for my final dissertation. After several months devoted to the analysis of Edwards’s travelogues, I can state that my expectations have been fully answered. Indeed, Amelia B. Edwards was a versatile and prolific literary figure of the Victorian period. From a very early age she excelled in many artistic fields, but writing represented for her the most suitable means to earn her living, as she made the choice not to marry and depend on a husband. Edwards worked mainly as a novelist, journalist, Egyptologist and travel writer. Her successful travel books, titled Untrodden Peaks and Unfrequented Valleys (1873) and A Thousand Miles up the Nile (1877), are the outcomes of two extended journeys through the Dolomites and Egypt respectively. Amelia Edwards is a perfect example of those independent women travellers who sought alternative identities for themselves, far from the constraints of Victorian British society. These unconventional women took advantage of the popularity of travel writing in order to enhance their cultural authority, and during the nineteenth century a great quantity of travel texts narrating their adventures were published. Since Amelia Edwards’s travelogues are the main focus of this thesis, through the analysis of some significant passages, I show how the process of acquiring social esteem and recognition through travel writing was not immediate. Indeed, Victorian women writers were considered 4 suitable for writing novels and poems, and the non-fictional genre of travel writing was thought to be a male prerogative. Therefore, a particular tension is noticeable both in the majority of Victorian women writers and in Amelia Edwards’s travel writing, as she employed several devices to establish her own voice while still making use of masculine literary stratagems, which reveal the typical aggressive stance of the colonizing British culture towards the rest of the world. For a thorough understanding of the significance of Amelia Edwards’s travelogues, it is necessary to devote the first chapter of this dissertation to a general overview of travel writing. This part shows how, despite the publication of numerous scholarly books on the topic of travel writing, it is not easy to define the genre and outline its main literary features. However, what seems to be a certain fact is that travel books have always been considered engaging and popular literary products, which aim at presenting to a reading audience a foreign reality filtered through the eyes of a writer/traveller. The author’s personality, therefore, always emerges through the pages of a travel text and, most of the times, the journey functions as an opportunity of self-discovery on the part of the writer. Moreover, chapter 1 offers an historical synopsis of travel and travel writing; it focuses especially on the nineteenth century, defined as the golden age of this literary genre, since it is the period in which a greater number of people could travel and relate their experiences abroad. Finally I illustrate how Victorian female travel writers could seize on the democratisation of travel and the popularity of travel writing in order to escape the limitations imposed by British society and enhance their cultural authority within the patriarchal field of travel writing. After having offered an introductory overview of what is the central focus of all Edwards’s literary productions, chapter 2 presents Amelia’s figure as a 5 multifaceted and talented intellectual of the nineteenth century. Despite Edwards’s prolific and remarkable career, critical studies on her literary productions have been scarce so far. Apart from several authoritative essays, only two official biographical books have been written by Joan Rees and Brenda Moon, and generally scholars highlight how Amelia Edwards’s travel writing is worthy of consideration among all the works she had produced. The chapter is divided into two parts. The first one deals with Amelia’s early professional career, mainly as a journalist, novelist and travel writer. During this phase of life, the authoress had worked intensely. She published plentiful, diverse pieces of writing, ranging from journal articles to history books, translations, poems, essays, short stories, novels and, above all, travel accounts. Furthermore, the second part of chapter 2 explores the later stage of Amelia Edward’s career as an influential Egyptologist, which coincides with the last ten years of her life. After having sought a professional position within the Victorian cultural milieu as an inexhaustible and flexible writer, in 1882 Amelia decided to move on and totally devote herself to the cause of Egyptology by founding the Egypt Exploration Society. As a matter of fact, by committing herself to the study and preservation of the archaeological remains of ancient Egypt, Amelia (who essentially was an amateur) was able to consolidate her cultural authority within the patriarchal academic domain of Egyptology. Even during her career as a professional Egyptologist, Edwards revealed an intense passion for travelling, since she had the opportunity of giving lectures abroad until the very end of her life. If the first two chapters serve as an introduction to Amelia Edwards’s travel writing, the two following ones get to the core of this dissertation. I do not provide the summaries of the plots, but I take into account what I consider as some of the 6 most relevant passages of the books in order to highlight important literary characteristics of both Amelia’s and the majority of Victorian women’s travel writing . In chapter 3, I examine Edwards’s first successful travel account published in 1873 under the title Untrodden Peaks and Unfrequented Valleys: A Midsummer Ramble in the Dolomites. After delineating the structure and the subject-matter of the book, I explore how Amelia reacted when she confronted herself with the Dolomites, a region of the Italian Alps which was still unexplored by mass tourists in the nineteenth century. Since Edwards possessed an artistic talent, it is interesting to observe her responses to the Italian art and how she represents the mountain district through the numerous sketches that embellish the book as well. A related aspect which is worthy of consideration is Amelia’s reliance on the language of the visual art to describe the scenery, as she frequently employs the aesthetic term “picturesque” when she refers to the mountains. The chapter also examines the significance of the setting, since the Dolomites could provide the writer with the right amount of originality in order to turn the travelogue into a successful work. Moreover, as far as literary devices are concerned, I analyse Amelia’s use of some fictional techniques such as characterisation and dialogue. Since the story is told by a narrative persona, I discuss the issue of autobiography which affects every non-fictional travel text. Furthermore, I examine how Amelia faced the Victorian female writers’ problem of self-affirmation.